1969-? A Taste for Opera

An interest more than a passion. Continue reading

Introduction to opera: It was a very important incident in my life, but I have only the sketchiest memories of the occasion. I am pretty sure that my viewing of the movie The Pad (and How to Use It)1 took place in the TV room in the basement of Allen Rumsey House. The movie was released to theaters on my eighteenth birthday in August of 1966. I am pretty sure that I watched it by myself on Bill Kennedy’s afternoon show. He showed only old movies, and so I am dating this entry as 1969, the year that Kennedy moved his show to channel 50, WKBD. However, it might have been a little earlier, when he was still on CKLW, the powerful station in Windsor, ON.

The movie was based on a play by Peter Shaffer called The Public Ear. In it a guy meets a woman at a symphonic concert ( Mozart’s 40th, as I recall) and invites her to his apartment for supper. I admit that I watched this movie because of the promotions that portrayed it as a sexy comedy. In reality there is no sex at all. Parts of the movie are definitely funny, but the ending is tragic.

This was as racy as it got.`

The guy (played by Brian Bedford), has mistakenly concluded that the woman (Julie Sommars) is an aficionado of “long hair” music. In his “pad”he shows her his sophisticated phonograph system and plays excerpts from Wagner’s Der Fliegende Holländer and the Humming Chorus from Pucini’s Madama Butterfly.

I was not familiar with either of these works. The Wagnerian selection did not do much for me (and still doesn’t), but I found the Humming Chorus really moving (and still do). The woman, on the other hand, was much more interested in the guy’s neighbor (James Farentino), who had volunteered to cook a romantic supper for them.

This viewing occasioned my purchase of a few vinyl record albums. In those days full operas came in boxed sets of three or more records, which made them pretty expensive. One-disk recordings of the highlights from operas were also available. I purchased one of those for Madama Butterfly, and I really enjoyed it. I also purchased a couple of “greatest hits” albums from famous opera singers such as Renata Tebaldi and John McCormack. I also found some collections dedicated to individual composers. The one that I liked the best contained Rossini’s overtures. I should emphasize that I bought almost all of these records after they had been heavily discounted. I seldom paid more than $2 apiece.

I also frequented the small library of recordings that was available in West Quad. I don’t remember finding anything there that I really liked, but it exposed my ears to some new composers.

I had little or no success in getting any of the other A-R residents to listen to these records. I am not sure that I even tried.

I had no phonograph when I was in training in the army. At my first permanent station, Sandia Base in Albuquerque, I was occasionally able to assemble and conduct a small group of air musicians to accompany my recording of the overture from Rossini’s Guillaume Tell. That was fun. In my final assignment at Seneca Army Depot I finally found a kindred spirit. That experience has been recorded here.


Live performances: Operas have always been expensive. For the first half of my working career my wife Sue and I could seldom afford to purchase opera tickets. After the company became more successful my attitude changed.

The first opera that I ever attended was Verdi’s Aida. In 1981 the Connecticut Opera Company (CO) staged an elaborate production at the home of the Hartford Whalers. I have written about this experience here.

I did not attend another opera until more than a decade later when we went to the Bushnell in Hartford to see a production by the same company of Bizet’s Carmen. Denise Bessette accompanied us. I was interested in the music, Sue wanted a night out, and Denise was hoping to be able to pick up some phrase of the dialogue in French. I do not remember much about the experience. I only recall that we arrived too late to attend the talk that preceded the performance. That put me in a very foul mood. I had purchased a CD of the opera that featured Agnes Baltsa. I was surprised that the performance in Hartford (like every other performance that I have heard or seen) used the recitatives that were added after Bizet’s death.

Willy Anthony Waters.

Sue and I also attended at least one performance before 1999, when Willy Anthony Waters took over as artistic director of the company. I remember watching a very bizarre version of Mozart’s Don Giovanni. For some reason the stage director had women dressed in purple wandering around the stage in nearly every scene. They were supposed to represent Don G’s memories of his previous amorous conquest.

At some point in the early twenty-first century I purchased two season’s tickets to the CO. Each year thereafter I renewed the subscription, and each year my seats and the performances got better (in my opinion). In the last year we were in row F right in the middle. I would not have traded seats with anyone.

The CO put on several performances of three operas per year. I am pretty sure that I was able to attend each opera for the period during which I had season’s tickets. However, I can only remember the details of a few performances.

Jussi performed in Hartford! So did Luciano!
  • I remember a performance of Don Giovanni in which only one set was used. It consisted mostly of doors.
  • There must have been a production of Le Nozze di Figaro, but I remember no details.
  • I am quite sure that I watched a production of Die Zauberflöte by myself between two empty seats. That experience was depicted here.
  • I am sure that I saw Verdi’s La traviata performed in the traditional way with a soprano that I liked a lot. I don’t remember her name. During this show an Italian lady sat next to me. On the other side of her were family members or friends who had purchased the tickets with her in mind. She softly sang along to “Di provenza il mar, il suol”, but she did not seem to think much of the rest of the performance.
  • A year or two later the same soprano starred in a production of Donizetti’s Lucia di Lammermoor. I remember that the program made the strange claim that the only reason to stage this opera was to showcase a new soprano.
  • We definitely saw Richard Strauss’s Salome. It had more dancing than singing and was very short.
  • There was definitely a production of Verdi’s Rigoletto that starred a Black baritone who appeared in several other shows.
  • He was the star of the (rare) presentation of Puccini’s one-act opera, Il tabarro. It was coupled with Leoncavallo’s Pagliacci in which he played Tonio.
  • I have never been that enamored with Puccini’s Tosca. The one that was performed in Hartford had a very unimpressive climax. It was promoted by Mintz and Hoke, the one agency in the Hartford area that never agreed to talk with us.
  • I am pretty sure that one year Pagliacci was paired with its usual partner, Mascagni’s Cavelleria Rusticana.
  • I distinctly remember seeing Humperdinck’s Hansel und Gretel. I did not like it much.
  • We certainly saw a production of Puccini’s La bohème. I also remember seeing photos in the lobby of previous productions. Both Jussi Björling and Luciano Pavarotti starred in this opera in Hartford.
  • Presenting Richard Strauss’s Salome, a short opera with no memorable arias, was a strange choice. The big attractions were the dance of the seven veils and John the Baptist’s head on a silver platter.
  • I vaguely remember a production of Rossini’s Il barbiere di Siviglia.
  • One of the last operas that we saw was definitely the best, or at least the most surprisingly good. I went to see Rossini’s La cenerentola with low expectations, but I left with a real appreciation for what this company was able to do before its sudden demise.

The last season for the CO was 2008-2009. I attended the presentation of Don Giovanni in the fall of 2008. The attendance in Hartford was pretty good, but evidently the one performance in New Haven bombed. In February of 2009 the company abruptly shut down without refunding tickets already purchased. However, I had paid for three sets of two tickets using American Express, which refunded me the total cost of the tickets, including the portion for the one that we had attended.

I was shocked and very sad to hear about the OC’s demise. I enjoyed every aspect of attending operas at the Bushnell. By this time I was more than just appreciative of opera. Although the list of composers whom I did not like was fairly long, I really could hardly tolerate other forms of music. They seemed trivial by comparison.

In August Sue and I would sometimes drive to Cooperstown, NY, stay overnight at a horrendously overpriced hotel, and attend one or two performances in the beautiful Alice Bush Opera Theater. The theater was a very nice place to watch a show, but it had a tin roof. Those inside could really hear it when it started to rain. It also lacked air conditioning, but it was never intolerably hot.

I remember watching Mozart’s Così fan tutte, Jenůfa by Leoš Janáček, and Verdi’s attempt at comedy. Il regno di un giorno, There were probably others. I think that the last performance that we saw was Meredith Wilson’s The Music Man, which starred baritone Dwayne Croft, whom I had heard many times on broadcasts from the Metropolitan Opera. His performance did not make anyone forget Robert Preston.

Sue and I also went to a couple of performances by traveling companies. We saw Carmen performed twice by foreign companies, once in Storrs and once (I think) in Amherst. We also attended a low-budget version of Figaro in Springfield, MA. After I had seen these “war horses” several times I no longer went out of my way to see them.

Sue and I also attended a couple of operas when we were on trips in Europe. We saw Donizetti’s Don Pasquale in Rome as described here on p. 65. We also got to see an entertaining version of Figaro in Prague, as is described here. You can also read here about my adventure in Vienna that was capped off by a performance of the same opera.

Sue and I attended two operas in Pittsfield, MA, La bohème and Figaro. Both included a world class diva, Maureen O’Flynn, and both were extremely professional and entertaining. They were shown in and old-time movie house in downtown Pittsfield. Unfortunately the Berkshire Opera went out of business shortly thereafter.

In 2001 Denise Bessette and I witnessed a performance of Il trovatore in San Diego. That experience has been documented here. In 2006 Sue and I also spent a week in San Diego. On one evening we attended a performance of Carmen in the same theater. I also wrote about that vacation and posted it here.

I attended one opera on a business trip. It was in 2008, and the the client was Lord & Taylor. I walked from the hotel in which I was staying in Manhattan to Lincoln Center to watch a performance of La traviata by the Metropolitan Opera. That aspect of my relationship with L&T has been posted here.


Class: A guy named Mike Cascia2 gave presentations at the Enfield Public Library the week before the Live in HD performances shown at the local Cinemark. I attended a few of these. He also taught classes in opera for the continuing education program conducted by the Enfield public schools. I never enrolled in any of them because they conflicted with the Italian classes that I attended

Mike had a very impressive set of recordings. He played quite a few selections from each of the operas that he covered. However, his presentations did not, at least in the classes that I attended, provide a great deal of insight.

I also saw Mike at the Cinemark at Enfield Square mall a few times. He always sat in the first row behind the horizontal aisle, and so I was four or five rows behind him.


Recordings: In the early nineties I purchased a Sony Walkman so that I could listen to tapes while I was jogging. My cars for that period, the Saturn and my first Honda, also had cassette players. I discovered that Circuit City had a large selection of inexpensive cassette tapes of classical music. I bought a fairly large number of them, mostly just to find out what I liked. They were discarded long ago. I remember that I had samplings of many composers, including opera composers. I also somehow obtained a recording of Puccini’s Madama Butterfly.

I also bought from The Teaching Company3.several sets of opera courses conducted by Robert Greenberg4. The details are explained below. I really enjoyed listening to these courses, which covered in some detail a few operas and the backgrounds of the composers. The most astounding thing that I learned was that Tchaikovsky was coerced into committing suicide so that his sexual orientation was never made public.

I bought several CDs as well, including the following full-length operas:

Georges Bizet opera: Carmen with Agnes Baltsa and José Carreras. I once listened to this recording, which has dialogue rather than recitative, a lot. That, however, was before I discovered the recording on YouTube in which Maria Callas sings Carmen.

Sutherland and Pavarotti.

Donizetti opera: Pavarotti and Sutherland are wonderful in Lucia di Lammermoor. The quality of the YouTube recording is inferior, but the performances by Callas and Giuseppe di Stefano are the stuff of legend.

Four Mozart Operas:

  • Figaro conducted by Sir Georg Solti with Sam Ramey (from Wichita, KS) in the title role. This was one of the greatest opera recordings ever. The cast included Kiri Te Kanawa, Lucia Popp, Frederica Von Stade, and Thomas Allen. It also included the arias in the last act by Marcellina and Don Basilio that were almost always left out of live productions. I remembered listened to this recording as I was hiking by myself in the Dolemites in 2003, as described on page 18 of this posting.
  • Don Giovanni conducted by Carlo Maria Giulini featuring Eberhardt Wachter, Joan Sutherland, Elisabeth Schwarzkopf, and Giuseppe Taddei. I have listened to and watched a large number of performances of this opera, and none measured up to this one.
  • Die Zauberflöte conducted by Sir Neville Marriner. Ramey and Te Kanawa also perform in this recording.
  • Così fan tutte One of the three disks was in the portable CD player that I left at an airport. I was too cheap to replace something of which I already possessed 2/3 of the contents. Te Kanawa shines on this recording, too. I once heard her say that there was no room for error with Mozart. She said that she always strove to hit the middle of each note.

Three Puccini Operas:

  • La Bohème with Jussi Björling and Victoria de los Angeles. For some reason it is not in stereo, a fact that I did not realize until I played it.
  • Tosca with Renata Scotto and Plácido Domingo. I am not crazy about this opera, but you can’t beat this performance.
  • Turandot would have been Puccini’s best opera if he had finished it5. I never tired of listening to Pavarotti and Sutherland. Luciano never incorrectly answered any of the riddles. I often have stopped listening after Liu’s aria. The rest of the opera was written by Franco Alfano after Puccini’s death.

Two Rossini operas:

  • My copy of Il barbiere di Siviglia featured Domingo (a tenor) in the baritone role of Figaro. He handled it easily. Kathleen Battle is superb as Rosina.
  • Agnes Baltsa played the title character in my recording of L’italiana in Algeri. I bought this before attending a performance of it so that I would have some familiarity with it.

Three Verdi Operas:

  • You haven’t heard La traviata until you hear Pavarotti and Sutherland.
  • The version of Rigoletto that is in my collection features Domingo as the count. This is the only set that I have that did not come with a box and a booklet containing the libretto.
  • James Levine discouraged Domingo’s ambition to sing Otello for several years. I had a recording of their ultimate collaboration. Renata Scotto sang the Desdemona (which in Italian is pronounced dehz DAY mo nah) role.

Cav/Pag: I bought two recordings of the one-act operas that are often paired in performances, Cavalleria Rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo. The one that features Callas and Di Stefano was recorded in the fifties. The technology for the other one, with Pavarotti and a pair of excellent female vocalists, is several decades newer. I prefer Pavarotti and Mirella Freni in Pagliacci, but Callas’s performance of Santuzza (which she never sang on stage) in Cavalleria is unforgettable. It ruined the opera for me whenever anyone else attempted it.

Singles: I purchased a dozen or so individual CDs. Most of them were collections of arias by various artists, including sets of Verdi arias by Callas by Andrea Bocelli. My best individual CD was probably the highlights from Aida with Leontyne Price and Domingo.

I downloaded some software that allowed me to make MP3 files out of all of my CD’s. I am not sure that I even had a CD player in 2024 when I wrote this entry.


Radio: From the eighties until the time that TSI closed in 2014 I worked at the office nearly every weekend. I often listened to two shows early in the afternoons, the Metropolitan Opera broadcast on Saturdays on WAMC from Albany6 and Sunday Afternoon at the Opera with Rob Meehan on WWUH, the radio station of the University of Hartford.

For many decades the Met broadcast its Saturday matinees live on public radio. The performances were mostly from the standard repertoire supplemented with a few new operas commissioned by the company. The singers and the production values were almost always first rate.

One of my favorite parts was the Opera Quiz that was held during intermissions. When I first started listening, my favorite participant was Fr. Owen Lee, who was an enthusiast of Wagner’s music, but not his politics.

Willy Anthony Waters from the Connecticut Opera often appeared on that program. I remember that he challenged listeners to name the character from La bohème who appeared in another Puccini opera. I never discovered the answer to this question, and it has bugged me for decades. La rondine and Manon Lescaut are also set in Paris, but I could not identify the two-timing character.

In order to enjoy the performances more I purchased a Bose Wave Radio, which remained in my office until TSI was shut down. I still had it in 2024, but I hardly ever used it in the last decade. For the most part streaming supplanted radio listening for me.

Rob Meehan in 1980.

During the months in which the Met was not transmitting, WAMC played recordings of operas from other famous opera houses, primarily San Francisco.

Meehan’s show was quite different. It featured his huge collection of opera recordings, some of which were very obscure. Occasionally I had to turn his show off because the music made my ears bleed.


Met Live in HD: In 2006 the Met began transmitting HD recordings of its matinees live to theaters around the world that were capable of showing them. This was a terrific way to allow people who did not live close to a company that staged operas to see and hear the very best presentations. The Met also showed encore presentations on the following Wednesdays, originally in the evening and currently in the afternoon. They also showed repeats of three or four previous operas during the summer months.

Here are some of the operas that I seem to remember seeing at the theater. I may have actually watched a few on my computer when I subscribed to Met Opera on Demand, as listed in a lower section.

Kristine Opolais filled in with only twenty-four hours of notice and gave a great performance as Mimi in La bohème.
  • I have watched at least two productions of Rigoletto. The first one was an update to the rat-pack days in Las Vegas. The one shown in 2022 was also modernized, but the most striking thing about it was that Gilda was portrayed by Rosa Feola as a mature woman. That part worked fine, but the problem with moving the opera away from Italy is that the “Maledizione!” declaration that links the first act with the last just doesn’t ring true at all.
  • James Levine’s conducting of Verdi’s Falstaff was the last of a trio of “great comedies” that he conducted in the teens. It featured Ambrogio Maestri in the title role. The Met’s HD presentations always feature live interviews with the performers. Maestri gave a cooking demonstration. Since he did not speak English, his wife translated. I did not enjoy this opera much at all, and I cannot imagine how Levine could think that it was better than Il barbiere di Sivigla or L’elisir d’amore or several other works.
  • I enjoyed the 2012 production of Verdi’s Otello featuring S. African tenor Johan Botha, whom I had never heard before, and Renée Fleming, who was, of course, perfect. Botha and tenor Falk Struckmann both had previously specialized in the works of Wagner. In an interview Struckmann said that he had great admiration for the abilities of Bel Canto tenors.
  • The new opera, Marnie, which was shown in 2018. It starred Isabel Leonard, whom I have enjoyed greatly in other operas. I did not however, think much of this one. Why the composer made an important character in a modern opera a countertenor escaped me.
  • The Exterminating Angel was supposed to be a nightmare, and it definitely was. It did feature the highest note, which sounded like a honk, ever sung on the Met’s stage.
  • I was surprised at how dark Jules Massenet’s opera, Werther, was. I watched it mainly to see Jonas Kaufmann, but I liked the music enough to watch several additional operas by Massenet.
  • I was not familiar with Francesco Cliea’s Adriana Lacouvreur until I saw the performance with Ana Netrebko and Anita Rachvelishvili. They both were good, but I was really impressed by Rachvelishvili.
  • I liked Massenet’s music in Cendrillon, and I especially appreciated Joyce DiDonato (of Prairie Village, KS!) as Cinderalla. I found the production, which I viewed in 2018, a little contrived.
  • The Met showed Cavalleria Rusticana and Pagliacci together in 2015. I think that I must have seen the summer encore a few years later. I liked the updated Pagliacci, but CR did nothing for me. I kept comparing it with Callas’s rendition of the Santuzza role on my CD, and it came up very short. The entire story takes place in the piazza of a church in Sicily. I see no reason to stage it on the carousel. The dancing was an unwanted (by me at least) distraction.
  • I am quite sure that I saw the version of Hector Berlioz’s grand opera Les Troyens that was shown in Enfield in January of 2023. I remember that someone in the audience complained about Deborah Voigt’s performance as Cassandra. I thought that she was OK, but I had nothing for comparison. I recall that I was sure that Fr. Puricelli would have approved of Susan Graham as Dido.
  • I remember virtually nothing about watching Verdi’s Ernani in 2012 except that the man later known as Emperor Charles V was a central character.
  • Hvorostovsky also played the title role in Tchaikovsky’s Eugene Onegin. I enjoyed Renée Fleming’s Tatiana much more. I absolutely hated the stark production. I had been spoiled by the wonderful YouTube video mentioned below.
  • I also watched Domingo in The Queen of Spades I found it depressing and tiresome. I had missed out on an opportunity to view a performance of this opera in Budapest in 2007. That misadventure has been described here.
  • I saw Faust, composed by Charles Gounod, in Enfield in 2011. I watched his Roméo et Juliette in Lowell, MA, in the middle of a bridge tournament. In both cases I was by myself. I did not really like either opera very much. Since those are the only operas of his that are ever performed, I have concluded that I do not like Gounod’s operas very much.
  • I might have watched Roberto Alagna’s performance in Samson et Delila on the computer, but I think that I saw the HD telecast in the theater in 2018. Alagna’s listed height was 5’8″, and his costar Elīna Garanča claimed to be 5’7″. She certainly appeared to be at least as tall as he was, and it was difficult to imagine Alagna tearing down the temple with his bare hands. Still, Camille Saint-Saëns’s music was enjoyable, and the performances by both leads were impressive.
  • I had purchased a record album of highlights of Umberto Giordano’s Andrea Chenier in the sixties or seventies. I never saw that opera until I watched the Met on Demand version during the pandemic. In 2023 I went to the theater to watch Giordano’s less familiar Fedora with Sonya Yoncheva and Piotr Beczała. I enjoyed it immensely.
  • I had seen the same two stars (along with Domingo in a baritone role) in Verdi’s Luisa Miller in 2018. I had never heard even one aria from the opera before that occasion. I don’t know how I missed it. The Met’s performance was very good. The only thing that I found hard to take were the duets by the two basses.
  • Franz Lehár’s The Merry Widow is an operetta, not an opera. I only watched it in a summer rerun of the 2015 performance because Fleming sang the title role. She was great, but the story was tiresome.
  • I decided to attend Die Meistersinger von Nürnberg in 2014 primarily because I had heard that it was Fr. Owen’s favorite opera. It was also conducted by Levine as part of his trilogy of great comedies. The third reason was to hear Botha in an opera. I enjoyed it, which I cannot say about any other Wagnerian opera that I have seen or heard.
  • If the Met showed a Puccini opera, I went. In 2014. Sue and I saw Kristine Opolais fill in for the artist scheduled to play Mimi in La bohème on 24 hours notice. I liked her performance, and I really liked the staging by Franco Zefferelli. I appreciated that Opolais was thin enough to pass as a victim of consumption. I went back to see her in the puppet production of Madama Butterfly and a traditional Manon Lescaut. In the latter she kept taking her shoes off in every scene that included her costar, Roberto Alagna, who was reportedly the same height but appeared considerably shorter even in his lifts.
  • I don’t think that I ever got to see Zefferelli’s production of Tosca, but Sue and I did attend the presentation of La fanciulla del West in 2018 with Kaufmann and Eva-Maria Westbroek. We both enjoyed it immensely. I could easily understand why Puccini considered it his best opera. The Met’s production actually included a brawl in the saloon.
  • One of the very few modern operas that I really liked was Nixon in China by John Adams. I saw it in 2011 with James Maddalena in the title role. Parts of it, especially the parts that included Henry Kissinger, who was portrayed as a clownish figure.
  • I came late to Vincenzo Bellini’s operas. The first one that I saw on the screen was Norma, which the Met showed in 2017. It starred two of my all-time favorite performers, Sondra Radvanovsky and Joyce DiDonato. It was an amazing performance of beautiful music and a pretty good story. It caused me to search for performances of the other three famous Bellini operas.
  • When Sue and I went to Richard Strauss’s Der Rosenkavalier in 2017 there was a problem with the transmission or perhaps with the equipment. We got to see most of the part of the opera that I was most interested in, namely Fleming’s performance as the Marchelin. The theater gave each person in the audience a voucher that was sufficient to pay for another performance. We used them for a different opera. I later watched the entire performance of this one using Met on Demand.
  • Nobody thinks that Roberto Devereux is Donizetti’s best work. Met on Demand has no audio recordings of the work and only one video. I doubt that there will be another any time soon. Sondra Radvanovsky game such a memorable performance in 2016 that no one is likely to want to undertake the role for decades to come. For some reason her renditions of the other two queens that year, Anna Bolena and Maria Stuarda were not selected for Live in HD. I had to watch performances by others on Met on Demand.
  • I absolutely hated the production of Verdi’s La traviata that the Met staged in 2012. For some bizarre reason a big clock was in the middle of the stage and a bright red couch that was carried around. However, there was one saving grace, the absolutely brilliant performance by Natalie Dessay as Violetta. It caused me to seek out her other performances on Met on Demand and YouTube.
  • Levine’s 2014 version of Mozart’s Figaro was updated to the Roaring Twenties, and it worked marvelously. This was the third of his Levine’s comedic trilogy. The entire cast was good, but Marlis Petersen stole the show with her phenomenal interpretation of Susanna. I was so impressed that I made myself watch her in her famous role as the focal character in Lulu.
  • I saw the live version of Don Giovanni in 2023. The title character (and nearly everyone else) was a gun-toting gangster. I hated the production, but the singing was good.
  • The production of Massenet’s Manon that was screened in 2019 may have exceeded my expectations more than any other. Lisette Oropesa was absolutely outstanding in the title role, and the production was superb. I had seen her in several smaller roles before in Werther and Rigoletto, but she just knocked me out in this one.
  • I did not think that I would like the updated version of George Frideric Handel’s story of Nero’s mother, Agrippina. However, there were a lot of good reviews. I found the whole thing silly, and I must conclude that I just don’t like baroque opera.
  • I had low expectations for Akhnaten, by Philip Glass, as well. I am sorry, but I cannot stand listening to a countertenor for nearly three hours.
  • The latest version of Lucia was set in Detroit in the twentieth century. It did not work. The character of the priest is critically important in this opera, and it made no sense in a drug-infested Detroit neighborhood. The tattoos did not help. Javier Camarena nearly saved this disastrous production with Edgardo’s arias in the last act.
  • I hoped to see George Gershwin’s Porgy & Bess when it was show in 2020 just before the .pandemic hit A few years later it was shown as a summer encore, and I went. The singing was fine, but the story was embarrassing. If this was a great American opera, it says a lot about American opera.
  • It is doubtful that anyone will attempt to put on Luigi Cherubini’s Medea again in my lifetime. Nobody had attempted it since Maria Callas, and no one could hope to match Radvanovsky’s stunning portrayal in 2022. We can only hope that she finds a few more plum roles before retiring.
  • Verdi’s La forza del destino was once part of the Met’s standard repertoire. The Polish production that Sue and I drove to Buckland Hills in 2024 to watch attempted to update it to the twentieth century. Parts of this approach worked; parts of it did not. What really upset me was that important aspects of key arias were (presumably deliberately) mistranslated.7 However, it was still worth the cost of admission to listen to the fantastic singers, the orchestra, and, more than anything, the chorus. I always have hated Peter Gelb’s idea that current audiences cannot appreciate the historical background of the original story. It certainly requires a little education to enhance appreciation of the traditional presentations, but if it takes something like this to get some outstanding operas back on the stage I am for it. By the way, this production included the worst knife fight that has not yet appeared on Mystery Science Theater 3000.
The Met used this shot from the worst scene in the opera to promote the telecast.
  • On April 24, 2024, I canceled my bridge game with Eric Vogel so that Sue and I could drive to Buckland Hills to see Puccini’s La rondine with Angel Blue and Jonathan Tetelman, who, according to Gelb, had to make his Met debut with allergy problems. I just love this opera, and they, the other principals, Emily Pogorelc and tenor Bekhzod Davronov, the orchestra, dancers, and chorus definitely did it justice. Tetelman will surely be an international star if he was not already. He has a fine voice, is a good actor, and is 6’4″. A tenor! The only cringy part was when Blue and Tetelman were obviously uncomfortable dancing in the second act. After the women of the dance troupe had been flung around on the stage, the timid swaying of the stars seemed out of place. I was also a little put off by the problems that Blue’s appearance created. The maid, who was certainly less than half her size borrowed her clothes, and Ruggero failed to recognize her after meeting her in a group where she certainly stood out for her size and complexion. On the other hand, Pogoreld and Davronov were delightful, and a special treat was the analysis of the score by conductor Speranza Scapucci during the intermission.

Video Recordings: I subscribed to the Met on Demand service before the pandemic. This allowed me to watch some of the large number of operas recorded by the Met while I was walking on the treadmill. I set my laptop up on top of a cabinet that Sue once used to hold shoes. I then started plugged in my earphones, started the opera and then turned on the treadmill. Here are some of them that I remember watching.

Pavarotti, a harpist, and Guleghina.
  • I definitely watched the 1996 rendition of Andrea Chénier that featured Luciano Pavarotti in the title role. It was perfect for his “park and bark” style of acting. I was also quite taken with Maria Guleghina’s performance. I had never heard of her.
  • I also enjoyed Guleghina’s performance in Verdi’s Nabucco, which I had never gotten around to seeing. I think that she was wearing the same wig that she used in Andrea Chénier. I wasn’t crazy about the opera in general.
  • I guess that I must have seen Bellini’s I puritani with superstar Anna Netrebko, but I don’t remember much about it. I have never thought much of Netrebko’s acting prowess. However, her performance in Francesco Cilea’s Adriana Lecouvreur was fairly impressive. She insisted that her interview be conducted before the day of the opera because, she said, she wanted to concentrate on her singing.
  • I liked the other Bellini opera a great deal more. La sonnambula starred my favorite soprano, Dessay, and the champion tenor of the Del Canto world, Juan Diego Flórez. The attempt to update the story to the twenty-first century did not work at all, but it was still better than nothing. The story depends upon the notion that an entire town would be unfamiliar with the concept of sleep-walking. This premise seemed even less valid in the updated version.
  • I also watched the same pair in a traditional rendition of Donizetti’s La fille du régiment with the same stars. Dessay was outstanding, and Flórez was given an encore to showcase his rendition of a string of high C’s.
  • Flórez was much less successful in the 2018 production of La traviata. He just did not seem right for the dramatic role of Alfredo.
  • I was surprised to discover that Teresa Stratas played Marie Antoinette in John Corigliano’s The Ghosts of Versailles. I did not recognize her. A young Fleming was also in this production, but Marilyn Horne stole the show as the exotic entertainer Samira.
  • As I mentioned above. I was able to view the rest of Der Rosenkavalier on my laptop.
  • I watched the Met’s 1979 production of The Rise and Fall of the City of Mahagonny, written by Kurt Weill and Bertolt Brecht. Don’t ask me to explain it. I think that this was the show that made me a fan of Teresa Stratas.
  • Fleming made Antonín Dvořák’s Rusalka an enduring part of the Met’s repertoire. It did not exactly showcase her skills. She was mute during one entire act. I am pretty sure that I also watched the Opelais rendition of this opera, either at the cinema or at home.
  • Christoph Willibald Gluck’s Orfeo ed Eurydice was very short. There was not a single break. I was familiar with the famous aria “Che faro senza Euridice?” from my recording of arias sung by Maria Callas. The star in the Met production, Stephanie Blythe, was a virtually unknown mezzo, who reminded no one of Callas. It was a big disappointment.
  • For some reason the Met decided to record Joyce DiDonato’s rendition of Donizetti’s Maria Stuarda in 2013 rather than Radvanovsky’s in 2016. I like DiDonato a lot, but I would have liked to see what Radvanovsky did with the role. Likewise I wish that Radvanovsky’s portrayal of the title character in Anna Bolena had been recorded.
  • Marlis Petersen was fabulous as the central character in Alban Berg’s Lulu, but nothing would make me listen to another Berg opera.
  • Watching Natalie Dessay in Lucia was a big treat for me, even though it was that horrible production with the giant clock. She claimed in the interview that she had missed a note in the mad scene, but I doubt that anyone noticed.
  • She also starred in the 2003 production of Richard Strauss’s fantasy, Ariadne auf Naxos. I found it weird (twenty-foot tall women) but enjoyable. I probably would enjoy anything that she was in.
  • I thought that I might like Wagner’s Parsifal, if only because it starred Jonas Kaufman and René Pape. It also featured the so-called Lance of Longinus, which I was quite interested in. I was wrong. It was unbearably long and, in my opinion, just silly.
  • I did not think much of the 1989 telecast of Bluebeard’s Castle either. I have enjoyed other works of Béla Bartók, but I think that this one deserves its obscurity.
  • The Met has three videos of Verdi’s Un ballo in maschera. I watched the film of the oldest one that starred Pavarotti. It used the Boston version in a production that I could barely tolerate. I did not realize until I researched this that the Swedish version was shown in 2012, and it included Radvanovsky. I have put it on my bucket list.
  • I was disappointed with Verdi’s Simon Boccanegra. It had two things going for it. The doge actually wore that peculiar crown, and the female lead was Kiri Te Kanawa. The story, however, did not keep my interest.

A large number of video files of full-length operas have been uploaded to YouTube. I have watched quite a few of them. I have also used some software that I downloaded to make MP3 files out of dozens of operas. I have listened to them on a tiny MP3 player that I carry with me while walking as well as in my 2018 Honda, which can play MP3 files stored on flash drives.

Here are some of the YouTube videos that I could stand to watch from start to finish. In many cases I started and gave up on operas in which either the video quality was bad or the production was bad.

  • By far the best one that I watched was Donizetti’s L’elisir d’amore performed in 2005 at the Vienna State Opera House. The stars were Rolando Villazón and Netrebko. She was OK, but he was unbelievably good. I often listen to his rendition of “Una furtiva lagrima“, for which he was allowed an encore. You can watch it here.
  • The second-best one was also fantastic. “Best Tosca Ever”, a film shot in 1976 featured virtuoso performances by Domingo, Raina Kabaivanska, and Sherril Milnes. The real star, however was the production. which was somehow shot in authentic locations—the church of Sant’ Andrea della Valle, Palazzo Farnese, and the roof of Castel Sant’Angelo. The video has been posted here.
  • Number 3 for me was the version of Eugene Onegin that was televised at the New Year’s Music Festival in 2014. This one does not have famous names as performers. In fact it has Russian singers for most roles and separate actors who were lip-synching. For me the most outstanding performances were Michel Sinéchal as Monsieur Triquet and the fantastic John Aldis Choir. The film lasts less than two hours, which meant that parts of the original score has been cut, but that did not bother me much. What was left told the story in a remarkably effective way, as you can witness here.
  • One of the comments written by a viewer of the Eugene Onegin film led me to discover Cherevichki, the comic fantasy written by Tchaikovsky about Christmas in the Ukraine. When I first sought a recording on YouTube, the only one available was a video of a concert performance. Later an audio recording of Russian singers was added. I have listened to it dozens of times while I was out walking. The tenor is exceptionally good. I later discovered the existence of an obscure DVD of a performance of Cherevichki at Covent Garden. The singers on the DVD are not as good as the ones on that album, but the finale is great.
  • I am sure that I watched one of the recordings of Benjamin Britten’s Peter Grimes, but I don’t remember much about it. I think that it might have been the BBC telecast.
  • I really enjoyed Ramey in the 1987 production of Don Giovanni that can be watched here. It is the only one that I have seen or heard that measures up to the one on my CD.
  • I also enjoyed watching Te Kanawa at the Glyndenbourne Festival production of 1973. Dame Kiri herself posted it here so that you could see it.
  • I am almost positive that I saw a British film of Verdi’s Macbeth on YouTube that starred a black woman as Lady Macbeth. When I researched this entry I could not find it. It was striking, but I did not enjoy the music much, and the filming was very grainy.
  • Ludwig van Beethoven’s Fidelio did nothing for me. The plot seemed preposterous to me, and none of the music was memorable. At the Met’s previous home Beethoven was one of the few opera composers memorialized in an exhibit. In retrospect this seemed ridiculous. He only wrote one opera, and it was seldom performed.
  • Puccini’s La rondine has become one of my favorite operas. At first there was only one video with English subtitles. It was posted by a Russian woman who starred in it. Her Italian pronunciation was horrible. She even got her lover’s name wrong. The second version that I saw got the ending wrong! They had Magda walking into the sea. I wanted to watch the Angela Gheorghiu version, but the captions were in Japanese. I did find a wonderful recording of the entire opera that featured Anna Moffo and Daniele Barioni. You can listen to it here.
  • I was disappointed with the production of Massenet’s Le Cid with Domingo. I can understand why it is not part of the standard repertoire. I dimly remember the movie with Charlton Heston. At the time I had no idea of the historical context.
  • Alexander Borodin’s opera Prince Igor is not often performed. When it is, the part that everyone is interested in is the ballet known as The Polovtsian Dances. The performance at the Bolshoi Theater that was posted to YouTube (here) is the only ballet that I have ever seen that I considered worth watching.
  • My fondness for Natalie Dessay was put to the test by the version of Jacques Offenbach’s insufferable Les contes d’Hoffmann. I skipped to Dessay’s section and quit when it was completed.
  • My recording of arias sung by Maria Callas included one from Gluck’s opera Alceste. I forced myself to watch a production on YouTube. I did not like it at all.

Tom Rollins was voted the greatest intercollegiate debater of the seventies

Recorded Lectures: The Teaching Company was founded by a great debater named Tom Rollins. I watched him in an elimination round one. It was something to behold.

His company contracted with academics from around the world to produce recordings of series of lectures about specific topics. The professor that he signed up to explain the world of symphonic and operatic works was Robert Greenberg. Each course came in several book-sized boxes that contained a number of magnetic tapes8 and booklets that were less than transcripts but more than outlines. The format provided a good way to learn, at least for me. The prices were very high, but the company often had sales. I paid between $20 and $30 for each course. I found four of these courses on the shelves in the basement.

  • The first course that I purchased were How to Listen to and Understand Great Music. Its forty-eight (!) lectures were organized chronologically. So, it was essentially a history of western concert music. A list of the titles of the lectures can be found here. Greenberg included musical samples of many of the periods. I don’t remember much of this but I do recall that the sonata-allegro form and explained that it was derived from the structures of three- and four-act operas. He also presented a great deal of historical information about various composers. The most striking story was the dastardly tale of how Tchaikovsky’s contemporaries coerced him into committing suicide rather than reveal his sexual orientation to the public. The other amazing revelation concerned how productive Mozart’s career was even though he died at the age of 35. Greenberg said that the best way to think of it was that Mozart was twenty years old when he was born, and he was therefore a productive composer from the age of twenty-five through his death at fifty-five.
  • Concert Masterworks contained less history and more details of compositions. Included were piano concertos from Mozart and Beethoven. A major part of the differences between the two styles was accounted for by the presence of much better pianos after Mozart’s death. There were several lectures on Dvořák’s ninth symphony, which I really liked. I preferred Beethoven’s violin concerto to Johannes Brahms’. In fact, I don’t think that the work of Brahms has held up at all. The last two composers were Felix Mendelssohn, a child prodigy who seemed to burn out in middle age, and Franz Liszt, who was a genuine rock star.
  • My favorite course was How to Listen to and Understand Opera, a subject that had haunted me since my college days. I learned in this course that the ancient Greeks apparently had what we would consider as opera, but the technique of combining music with plays was lost for centuries. A small group of men in Florence (including Galileo’s father) in the early Renaissance resolved to bring it back. Claudio Monteverdi’s9 L’Orfeo was still being performed in 2024. I learned about recitative (or recitativo in Italian)10, which refers dialogue that was sung at a conversational pace. Greenberg contrasted Mozart’s ponderous opera seria, Idomeneo, with his comic masterpiece, Figaro. He also played and discussed Il barbiere di Siviglia, Otello, Carmen, Wagner’s Tristan und Isolde, Salome, and Tosca.
  • The twenty-four lectures of The Operas of Mozart inspired me greatly. They brought the young genius to life in my mind and also explored the details of Così fan tutte, Figaro, and Don Giovanni. I was quite surprised to learn about the Masonic elements of Die Zauberflöte, which technically was a singspiel, not an opera. It contained a great deal of dialogue.
Robert Greenberg

During the pandemic I purchased one more course, Understanding the Fundamentals of Music. These lectures, which catalogued the various elements of musical composition came on CD’s. Although Greenberg considered them his most satisfying set of lectures, they did not enhance my appreciation much. For example, I still could not recognize key changes.


Books: I found six books about opera on the shelves in my office. Several of them were gifts from people who knew that I liked opera.

  • The one that I have consulted the most is John W. Freeman’s Stories of the Great Operas. It has short histories and synopses of 150 operas that have been performed the most often. My only objection is that it included the laughable Boston version of Verdi’s Un ballo in maschera.
  • Johanna Fiedler’s Molto Agitato was an entertaining read. It included a lot of gossip about Kathleen Battle’s off-stage shenanigans.
  • Jacques Chailley’s The Magic Flue Explained provided a lot of details about the Masonic influences in Mozart’s masterpiece.
  • Italian for the Opera by Robert Stuart Thomson was something of a disappointment. It explained a few things that had puzzled me, but it hardly helped me to listen more attentively at all.
  • The A to Z of Opera has synopses and short histories of hundreds of operas, many quite obscure. I had forgotten that this book came with a CD set that I had not played for decades.
  • I likewise had no recollection whatever of a short book called Quotable Opera. It was a collection of quotes by and/or about people involved in opera. I must have gotten to page 48 at some point. That is where I found a bookmark. My favorite quotes were both about Wagner. Mark Twain quoted Bill Nye, the humorist from Wyoming, as saying, “I have been told Wagner’s music is better than it sounds.” Rossini opined that, “Wagner has some beautiful moments but terrible quarter-hours”

Miscellany: I discovered while doing this entry that Google capitalizes every major word in German and English operas. However, it only capitalizes proper nouns in Italian and French operas. I never discovered the reason for this discrimination, but I followed the same rules in this entry.

I did not mention in the YouTube section the recording that I listen to the most. It has fifty arias performed by Maria Callas.


1. The movie has apparently disappeared. As far as I can tell, the two images displayed here are the only traces of it on the Internet. I have found no recordings in any format. Its IMDB site is here. Presumably if recordings are located, they will be listed there.

2. Mike Cascia died in June of 2020. His LinkeIn page says that he worked at the Federal Reserve Bank of Boston until 2008. His obituary, which detailed his efforts to promote opera, has been posted here.

3. The Teaching Company was founded by Tom Rollins, whom I knew of as a legendary debater. I only got to see him in action once, but It was an awesome experience. He was extraordinarily talented. He later was chief counsel to the U.S. Senate Committee on Labor and Human Relations. The company was sold in 2006 and now operates as Wondrium and The Great Courses. Tom’s LinkedIn page can be found here.

4. For several years Robert Greenberg had an arrangement with the Hartford Symphony Orchestra. He supplied the lecture; the orchestral provided the music. Sue and I attendedseveral of these performances. His webpage is here.

5. Puccini could not think of an ending to the story that work. I think that I could write a good one, but it would require rewriting at least one of the trios by Ping, Pang, and Pong. It would also require staging a murder by an arrow that appeared to be shot from a bow. That could be done, right?

6. Because of its powerful transmitter located on Mt. Greylock in the Berkshires, the reception of WAMC in Rockville, Enfield, and East Windsor was much better than that of WNPR, the local public radio affiliate.

7. In Don Alvaro’s primary aria, in which he provides the motivation for his character, he says the following (in Italian):

My father wished to shatter the foreign yoke
on his native land, and by uniting himself
with the last of the Incas, thought to assume
the crown. The attempt was in vain!
I was born in prison, educated
in the desert; I live only because my royal birth
is known to none! My parents
dreamed of a throne; the axe awakened them!

I could not locate a transcript of what was in the captioning at this performance. It certainly was nothing like the above. For me the acid test of a novel production is whether its captioning needs to lie about what the characters were actually singing. Incidentally, the word “last” in the third line is feminine Italian (“ultima”). So, in the original version Don Alvaro’s father married the last surviving Inca woman. So, the “forza del destino” driving Alvaro. The forces driving Carlo are family pride, racism, and Church-sanctioned colonialism. This version muddles all of this in favor of blaming everything on war.

8. During the period in which this transpired I had a Walkman and a cassette player in the Saturn and my first Honda.

9. Monteverdi in Italian means “green mountain”. Greenberg in German means the same thing.

10. Greenberg used the Italian term “recitativo”, but he pronounced the “c” like an “s”, as it would be pronounced in French. He mispronounced numerous other Italian words.

2006 March: Sue and Mike Spend a Week in San Diego

Animals and more opera. Continue reading

In the summer of 2023 I spent more than a day gathering information from every source that I could think of to try to determine exactly when Sue and I took the trip to San Diego. At first I thought that it was in 2002; I even wrote about one thousand words based on that assumption. I later found evidence that made me place it as late as 2009. As I was in the process of rewriting this to reflect the new date I came upon a set of Word documents labeled SD01 through SD07. They contained the notes that I had taken while on the trip, and they were dated. So, I can say with no fear of contradiction that the trip began on Thursday, March 23, 2006 and ended on Wednesday, March 29.

The notes were evidently intended to be expanded into a readable write-up of the trip and then, along with a sampling of photos, posted on Wavada.org along with my other travel journals. Evidently I must have gotten either busy or lazy; the readable journal never was written, and nothing was ever posted.

The good part is that the notes were a lot better than the septuagenarian memories that I would have needed to tap. Unfortunately, the photos have been lost. If I had integrated them into a journal, I would still have the best of them.

On the same day that I found the notes I rummaged through the bottom shelf on the bookcase in my office and found a paper bag with the imprint of the San Diego Opera on it. Inside was a receipt for the opera tickets, the program for the performance that we saw, and many other items from other places that Sue and I had visited. I would have preferred to find my photos, but this find greatly increased my enthusiasm for working on this entry.

Preparation: In March of 2006 we had two cats, the youngster Giacomo (introduced here), and my best buddy Woodrow (introduced here). The notes stated that Woodrow “purred in my ear”, which is how he often told me that it was time to get out of bed. We planned on leaving the cats alone in the house for a week, but we were not worried about them. Woodrow was well past his prime, but he was very self-reliant and quite tough. Besides, if things got bad, they could go outside through the cat door and make mischief. Sue’s father-in-law Chick Comparetto1 promised to look in on them to make sure that they had food and water. Woodrow was not afraid of strangers (or anything else). He would certainly greet Chick at the door and ask to be petted. Giacomo in those days was quite shy. Chick probably would never lay eyes on him.

I had a Frommer’s guidebook for San Diego that I purchased in 2000 for the business trip that I took with Denise Bessette in 2000 (recounted here). I did not use it much then, but I must have researched it much more thoroughly in 2006.

We planned to meet up with Marva Whitehead, whom we had met on our first trip to Italy in 2003 (documented here), for dinner on Monday. To pay for the trip we were using my frequent-flyer miles on Delta, my Hilton Honors points for the hotel stay, and my frequent-parker points at Executive Valet Parking for a spot near the airport. It was actually a pretty economical trip.

Would you expect Charlotte to be on the left on a trip from BDL to ATL?

The notes said that we brought Sue’s backpack/suitcase purchased for the 2003 trip to Italy, the duffel that IBM had given me in 2000 and the cats had baptized shortly thereafter, a suitcase held together with duct tape, and another backpack that contained my computer. Sue also probably brought an assortment of bags to use as carry-ons. I brought my camera (a small Cascio point-and-shoot digital) with some ability to zoom. Sue may have brought her camera, too.

Sue had arranged for John Bolling, a former IBM employee with whom she had worked in (or maybe even before) the early days of TSI, to meet us at the airport in Atlanta during our layover there. Our plane to San Diego did not leave until 6:18PM.


Denny’s closed for good in 2022 after 45 years.

Thursday March 23: Our first stop was at Chick’s house. Sue gave him the spare key to the house. We then ate brunch at the Denny’s on Elm St. at a little after 10AM. For some reason we made two trips to the bank (or maybe one each to two different banks). Sue sent an email to Marva just before we left.

We drove in my Saturn to Executive. The guy in front of me in the line there asked the clerk about the company’s points system. He had paid only $4 per night by using prepaid coupons. It was nice for once to be the one who was going on vacation. Usually I was the stressed-out guy on a business trip, and everyone else was giddy about their upcoming vacation. It was an even better feeling this time because I had amassed enough points to pay for the car’s entire stay.

Our itinerary called for us to leave Bradley at 1:55 p.m. and to change planes in Atlanta. We arrived at the airport with plenty of time to spare. For once there was no problem getting through security. Because of problems in Atlanta we did not actually leave until 2:41. Sue made short work of an ice cream cone while we were waiting.

The flight from Bradley to Atlanta was completely filled. Sue volunteered to take the middle seat, but she was quite uncomfortable. She learned that the guy next to her was going to Costa Rica to photograph wildlife. I had made this trip so many times that it was like riding a bus for me.

Somehow John Bolling found us in the gigantic Atlanta airport. He had a job there working for AirTran Airways2. He told us that he did not like his assignment at all. He had reportedly lost twenty-five pounds in five weeks.

I bought and consumed a gyro and some curly fries while we were waiting for our plane to depart. It did not do so until 7:15.

The plane to San Diego was also very full. No meal was served on the flight, but we did get drinks and a package of snacks. I selected trail mix, Later the flight attendants brought some Gouda cheese spread, and crackers plus some kind of buttery shortbread stick. One passenger was a guy from Italy. I was impressed that the stewardess was able to converse with him in Italian.

Sue watched a movie on the little screen on the back of the seat in front of her, “The Family Stone,” with Sarah Jessica Parker, Diane Keaton, and Dermot Mulroney. I was in the middle seat. I undoubtedly brought something to read, study, or play with, but the notes did not mention anything. The guy next to me brought absolutely nothing with him for diversion, and he did not avail himself of anything offered by the airline. He just sat there.

Nothing held together with duct tape appeared on the carousel.

Although we gained three hours during the flight, it was still 9:30 by the time that the plane’s wheels touched the ground. When we arrived at the baggage claim area, I was amazed that our luggage was not there. This NEVER happened to me on business trips, and on this occasion both of our flights departed late. It was hard to imagine how Delta had screwed this up.

Sue was upset about it. It did not bother me a great deal. In the worst-case scenario we might need to wear the same clothes for a day or two. Only one person in San Diego knew us in San Diego, and we were not scheduled to see her for a few days.

We told the people at baggage claim that we were staying at the Hampton Inn in Kearney Mesa. They said that they would deliver the bags to us there.

We walked to the Avis counter and picked up our rental. Our vehicle was a blue Chevy HHR that, according to a form that I found in the bag, had been inspected by someone named Otis. I had seen one or two of these cars before, but they were still an oddity if March of 2006. I was not impressed. It had no pickup at all.

You can have the HHR.

We found our way to the Hampton Inn in Kearny Mesa. By then it was nearly 11:00, which was 2AM Enfield time. I had never had a bad experience checking in at a Hampton Inn. This clerk was unenthusiastic, but he seemed competent. We told him that Delta would be delivering our luggage, or at least we hoped so.

We quickly went to sleep, but for once we hoped to be disturbed during the night.


A 25-mile drive from Kearney Mesa.

Friday March 24: The bags were delivered at 1AM. They appeared to be in no worse shape than when we had checked them.

All Hampton Inns provided a free breakfast buffet. Sue likes to go to restaurants for breakfast, but the selection at this hotel was pretty good. This was a good deal for people who can tolerate plastic silverware and are not picky about how their eggs are cooked. I had scrambled eggs and biscuits, fruit, and cereal. The setting was very elegant by Hampton Inn standards.

Our plan for the day was to visit the San Diego Zoo’s Wild Animal Park3. The name was slightly misleading. Although the park was affiliated with the zoo, it was located in the San Pasqual Valley east of Escondido. It was thirty miles north of the zoo.

We had a very beautiful day for our visit—74 degrees and sunny. We drive north through a naval air base and then east through the back country. We drove by an ostrich farm, which was a first for me, and a few places where visitors were allowed to pick their own oranges.

The park was huge. It covered 1,700 acres! The animals at the park were not, for the most part, kept in cages. Rather they were kept in groups in areas that resembled each one’s natural setting. The easiest way to see a lot of animals fairly quickly was to take the monorail4, a two-car open-air train that made a clockwise circuit around the entire park.

The park was not too crowded. We picked up a map of the park and a list of the shows and their times. We also picked up pamphlets that described two sections of the park, Heart of Africa and Condor Ridge. The former contained the vegetarian animals that resided on the savannas. The latter contained animals from North America.

There were a few empty seats on the monorail. We took Frommer’s advice and sat on the right. The trip lasted a little less than an hour. Each train had a guide who explained over the intercom what area of the park we were passing and what animals were visible. In a few cases she needed to direct our attention where some of them were hiding.

The train ride was great fun. We saw three separate types of rhinos. At one point the guide told us about some kind of Japanese animal that was in a culvert directly beneath the train. We passed through lots of different terrains. We even saw mountain goats and bighorn sheep in the Condor Ridge section, a bonobo playing with a basketball, and a giraffe doing the splits in the Heart of Africa.

We could see a balloon ride that we did not take. There were also trucks that you could ride in. Their main purpose was to feed the animals, but visitors could pay to tag along.

My most distinctly remembered experience occurred near the end of the monorail ride. The guide told us to be very quiet as we were approaching a new exhibit. She warned us not to make noise, because it might disturb one of the park’s newest resident, a bobcat. We need not have worried; I doubt that any noise we made would have disturbed a loader manufactured by the Bobcat company.

After the monorail ride ended we stopped for some food. We purchased an apple, banana, muffin, a bag of $4 potato chips and a $4 glass of Diet Coke. I also got a refill for only $1. In 2006 these prices were outrageous.

I think that we walked up to Condor Ridge, which is in the northeast corner of the park. My notes say that we saw a bald eagle, some prairie dogs, and a porcupine.

Somewhere in the park we saw all of the following. I probably took photos of all of them.

  • Gorillas being fed some oranges.
  • A hummingbird and a bustard.
  • A sleeping warthog.
  • A meerkat colony. One was on guard; the rest were underground.
  • A bird show. I wrote: “Pete and girls. Forgot about the parrot act.”
  • An elephant show with two performing pachyderms, Mary and Cookie. The trainer’s name was Brittany.
  • “Poop from egret.”

I loved the Wild Animal Park even more than I had loved the San Diego Zoo six years earlier.

We ate supper.at the Pampas Bar and Grill5 in SanDiegoVille. Our waiter was named Pedro. I ordered a ribeye and mashed potatoes. Sue had a strip steak with sauce and rice. The vegetables were understandably meager. Argentinians are notoriously carnivorous. A guy played the guitar and a harp while we were dining.

The vacation was off to a great start.


Saturday March 25: The plan was to spend the entire day in San Diego. The weather cooperated. It was around 70 all day long, and it was sunny.

We ate breakfast in the hotel again. I had sausage and scrambled eggs, with biscuits, fruit, and cereal. The baseball team from Westmont College in San Diego was in the dining room at the same time as we were. Their uniforms had maroon trim. They reminded me of UMass’s colors. I had stayed at many Hampton Inns. I had never seen a breakfast area so crowded. Sue and I had to eat at little table.

The next line of my notes says: “Convoy St. Target: _______. Big dip to get in. Drove past Home Depot Expo Center.” I am not sure what to make of this. There is a Target in Kearney Mesa, but in 2023 it is on Othello St. There is a Home Depot Design Center in San Diego, but it is not near the hotel or Target.

Balboa Park was our first touristy destination of the day. The park’s website calls it, “San Diego’s ever-changing, always amazing, 1,200-acre back yard.” I distinctly remember having trouble finding a parking space along the side of the road. Several women were reserving spaces for their husbands. When I finally found one I had difficulty maneuvering the HHR into it. It was quite a bit larger than my Saturn, and the visibility was not as good.

El Prado.

The main thoroughfare, which is reserved for pedestrians, in Balboa Park is El Prado. The notes describe it as “very nice”, and the photos that I found on the Internet certainly confirmed that. On both sides of it were museums, hotels, restaurants, and other elegant places.

The notes state:

Railroad museum. Wooden trestle bridge. Imperial valley. Junkyard dog. Barrel falling off of truck. Pushing truck uphill.

I assume that the first two words referred to the Model Railroad Museum that was located in the basement of the Casa de Balboa building on El Prado. Although a flyer from the museum was in the Sand Diego Opera bag, I don’t remember anything about it.

Sue had her own N scale model train layout that she constructed on the ping pong table in our basement in Enfield. Someone bought a Lionel train set for me when I was very young. My dad and Joey Kuchel set it up in the basement when my family lived in Kansas City, KS.

Evidently we saw all of the following somewhere in Balboa Park: “Palm reader, bicycle taxi, guitar and flute.” None of these references rings a bell. I distinctly remember not getting my palm read in San Diego or anywhere else.

I did not find a flyer from the Natural History Museum, but we must have gone there. We saw a movie about Baja California and a skeleton of an allosaur.

I reported “lots of interactive stuff for the kids.” Don’t ask me what “Dave in white coat in bathroom” referred to.

I have no notes about the tram that went around the park. It was free, and I found a flyer for it, so there is a good chance that we rode on it for a while.

Try to imagine the Moreton Bay Fig Tree with seventeen less years of growth. That is what we saw.
Our next stop was at Sunset Cliffs Natural Park. I probably had some very striking memories of this stunning location, but all that I wrote was, “Sucking face. Woman with cigarette”.

I found handwritten directions to Old Venice Restaurant on the back of an advertising piece from Avis that was in the bag. We ate a pizza and a very good salad for supper there. The pizza had prosciutto, chicken and basil. The notes stated that the restaurant was near Shelter Island, which is really a long peninsula.

I remarked in the notes that the people in the restaurant were too good-looking. We ate our supper on a wobbly table outside. Darren was the waiter’s name. I didn’t record the amount, but I am pretty sure that I left a tip.

When we left the restaurant I noticed a small ding on the passenger side of the HHR. Dings on rental cars can be costly. I had to hope that Otis had made a note of it when he inspected the vehicle or that whoever inspected it when we turned it in was equally negligent.

I forgot to bring the good map that I had ripped out of Frommer’s in 2000. I found myself on Rosecrans road and couldn’t figure out how to get on the freeway. I also ran a red light. The notes did not state whether the malfeasance was accidental or deliberate.

Another great day!


Sunday March 26: The plan was to drive to La Jolla, Coronado Island, and Old Town in San Diego. I wonder how much I used the Frommer’s book to select the itineraries. My choices do not closely agree with “Frommer’s favorite San Diego experiences.”

Sue might disagree, but I found the weather to be less than perfect. Clouds kept the temperature in the sixties all day. That’s light-jacket weather for me.

We had the usual breakfast at the Hampton—eggs and biscuits, fruit, and cereal. They also generally provided at least two kinds of juices and plenty of coffee.

We stopped at Target again. This time we picked up some two-liter bottles of Diet Cokes and some snacks. These items were much cheaper at chain stores than at locations attractive to tourists.

La Jolla was less than ten miles to the west of our hotel. I anticipated that we might have difficulty finding a place to park, but I was wrong.

Sue and I walked down to the beach We saw the aggregation of seals that Denise and I had enjoyed so much in 2000, but the only thing that I wrote about the experience was that the rest rooms were “crummy”. My dim recollection is that it was breezy at the cove.

We walked into town and strolled around for a bit. It seems incredible, but I reported that we could not find the Best Western in which Denise and I stayed. I did take note (and probably photos) of two dachshunds.

We did not take the 26-minute route from La Jolla to Coronado Island that is shown in the map at the left.

We were in no hurry, and so we drove through San Diego down to Chula Vista and then over to Imperial Beach at the south end of San Diego Bay. from there we took the “Silver Strand” up to Coronado.

The notes indicated “6$ at beach”. Maybe that was what I paid for parking. All beaches in California have always been open to the public.

I remember that there were protestors at the incredibly elegant Del Coronado Hotel, but I do not recall what the issue was. We had lunch al fresco. It consisted of leftover pizza from Old Vienna and food that we had purloined from breakfast at the Hampton Inn.

We walked up to the legendary hotel and even went inside. I could not believe how many bellboys they had. I kept waiting for one of them to shout, “Call for Philip Morris.”

Afterwards we stopped at a place called Moo Time Creamery for some ice cream. For some reason we ordered three types of ice cream. The notes stated that Sue really liked the double chocolate and the pear sorbet. I preferred the stracciatella.

Moo Time had a statue of Elvis and another one of a cow. I found a photo on the Internet.

I am surprised that I even tasted the ice cream. It has never been my favorite food, and, if the temperature was only in the sixties, I was probably shivering while I ate it.

From Coronado we drove to Seaport Village, which was on the eastern side of the bay, so that Sue could do some shopping in what its website calls “14 acres of fine waterfront dining, entertainment and world-class shopping in the heart of beautiful San Diego”.

I had difficulty finding a place to park. I must have let Sue off and parked in a lot rather than on the street. The notes said, “Hard to park. Meet at four. Brought Sue the ticket.” I interpret this to mean that I was given a ticket so that the HHR could exit from the lot, that I brought the ticket to Sue, that I planned to mess around somewhere while she shopped, and that we would meet up somewhere at 4PM.

The rest of my notes about Seaport Village were difficult to decipher: “Smoking outside of jewelry store. Arabs. Cat.illacs.” I was evidently impressed by the number of boats in the nearby marina. I also saw quite a few sailboats in the harbor. In 2023 I have no memories of this place, but Sue’s only clear memory of the entire trip was that she bought her favorite earrings there.

From Seaport Village we probably took I-5, which in Southern California is called “The 5”, north to the Old Town section. Old Town is a State Historic Park. The website describes it this way:

Five original adobe buildings are part of the historic park, which include museums, unique retail shops, and several restaurants. The Historic Plaza remains a special place for gatherings and historic activities. Visitors can also experience a working blacksmith shop, enjoy music, see or touch the park’s burros, and engage in activities that represent early San Diego.

I reportedly was very lucky with the parking. The word “Closing” is mentioned in the notes. Perhaps the “unique retail shops” had closed for the day.

We toured the area for a while and then decided to eat supper at Café de Reyes. We ate outside. The weather was perfect for Sue, and I got to sit by the heater. Our waiter was named Daniel, and the busboy was Jorge. The clientele seemed to be equally divided between Mexican-Americans and gringos. There were free tables when we arrived, but it got pretty crowded after we sat down.

For an appetizer we ordered quesos fundidos, which was a plate of goat’s cheese and sausage. The notes indicated that I had “combination #1 and a very large margarita.” The combinations are no longer numbered on the restaurant’s online menu, and so I cannot say what it contained, but I did call the supper “very nice”.

The notes also specified a “lady making tortillas with scrunched-up shoulders.” It didn’t specify whether she worked for the restaurant or not. I assume that, despite the word order, the shoulders belonged to the lady, not the tortillas.

When we returned to the hotel we were both dead tired. Sue contacted Marva by phone or email. We saw commercials on television for Congress to replace Duke Cunningham, who had resigned in 2005 for taking bribes from military contractors.7

We also learned that although the UConn men lost, the women won.

Monday March 27: This was the zoo day. For photos of animals (including the pandas) from the trip in 2000 look here. The weather was beautiful until about 1:30PM. It became chilly after that.

My breakfast at the Hampton was sausages with cold hard biscuits supplemented by fruit and cereal. The notes indicated that I took photos of the grounds around the Hampton. You will need to imagine the basketball goal and what the “Shriner stuff” might have been.

The zoo was located in Balboa Park. By this time I was familiar enough with the area that the drive there was a stress-free experience. We arrived at about 10:00. I parked the HHR near the sidewalk between aisle 4 and 5. From there it was an easy walk to the entrance. We did not need to stand in line because we already had tickets.

We made a beeline for the panda exhibit. There was no line at all. We got to see the six-year old that had been a baby for my first visit as well as the parents.

We then took the moving sidewalk up to the polar bear exhibit. Only one of them was out, but he put on a show for us. I remember that half of the exhibit was water, and you could easily see the bears when they went for a swim.

We got a bird’s-eye view of the park from the Skyfari ride. It had been included in the price of the combo (Zoo plus Wild Animal Park) tickets that we had bought. Denise and I did not do this. My recollection is that she was not good with heights.

When we were back on terra firma we walked down to visit the tortoises. One of them appeared to be horny. After that Sue went into the lizard and reptile mesa; I think that I stayed and took more photos of the amorous tortoises. We both then spent a little time in the reptile house.

We then went to see the orangutans in their new home. The notes indicated that I took good pictures of the baby. It was painful to write the last sentence. I have got to find those photos.

We ate lunch in the Treehouse Cafe, which was definitely aptly named. The photo at the right provided a good indication as to how hilly the zoo was. I ate a chicken Caesar salad with some chips and coke. Sue had clam chowder in a bread bowl and chocolate layer cake.

While we were eating the temperature dropped like a rock. The notes do not indicate whether I brought a jacket, but I probably did.

The gorilla enclosure allowed us to be within just a few feet of the mighty apes. The notes indicated that I was very impressed with the size of the silver-back’s thighs.

We next saw the hippo, but I was unable to snap any good pictures. The water was too dirty.

The flamingos did what flamingos do.

I think that the “express bus” that we took was similar to this one. The park now has a Kangaroo Bus that is a double-decker.

We then took the zoo’s express bus from stop 3 to stop 4 so that we could see the giraffes and the other hoofed animals. One of the giraffes was only two days old, but it was already pretty steady on its feet.

Sue was disappointed that we never saw any meerkats. We viewed their exhibit from three separate vantage point, but they all stayed in their burrow. It was a good thing that we had seen the sentinel at the Wild Animal Park. If not, she might have insisted on extending our stay in San Diego until she saw one.

We reportedly saw all of the following:

  • A horny wallaby.
  • Bactrian camels.
  • Some very active koalas.
  • Both Asian and African elephants drinking from a fountain.
  • Llamas.
  • Pigs.
  • Capybaras
  • At least one tapir..
  • A peacock that had flown up on a roof.
  • Quite a lot of topiary.
Imperial Mandarin restaurant.

We enjoyed supper with Marva at the Imperial Mandarin Chinese restaurant. I had wonton soup and spareribs. Sue also had wonton soup and moo shu pork, which was apparently a specialty of the Imperial Mandarin.

One of the rear doors on Marva’s car did not work. After noting this fact I included the phrase “Simply Marvalous”.

We drove to the Black Angus steakhouse for drinks. The bartender’s name was Ryan. I had Scotch on the rocks. The notes stated that someone had a lemon-drop martini. I have a hard time believing that it was Sue. She usually ordered a Scotch if I did.

It is telling that the notes included absolutely no mention of the conversations. Either I was not paying attention, or I figured that I would remember it without prompting.

I must have had only one Scotch. I managed to pilot the HHR back to the Hampton without any difficulty.


Tuesday March 28: The original plan was to go to Sea World. However, it rained lightly all night long. By morning it looked pretty good, but the forecast was for rain all day, or at least all afternoon. We therefore decided to skip Sea World. The new plan was to make return trips to Balboa Park and Old Town.

For breakfast we ate egg pizzas (that’s what the notes said), fruit, and cereal.

This time we had no problem parking in Balboa Park. We saw busloads of kids and also witnessed a group of Mexicans or Mexican-Americans in blue warm-up suits.

I do not know what to make of the phrase “Bridge over Park Rd.” There is a famous bridge in Balboa Park, and there is a Park Blvd., but the one does not go over the other.

We saw a cactus garden and a rose garden. I also noted a pair of sneakers in a tree.

The people in the park that day were interesting. I saw a guy with a flag, and I overheard another guy who said, “I should have shot him again. I should have shot him four times.”

We visited the Reuben H. Fleet Science Center, and I picked up a daily schedule there and a flyer for an IMAX film about Greece. There was quite a bit of interactive stuff for kids in the area of the museum called Kid City. A few of the devices appeared to be broken. We watched a presentation on television entitled “Origins in Space”. It was about NASA and particularly the Hubble Space Telescope.

I don’t know why the word “Einstein” was included in the notes.

Sue and I enjoyed a cappuccino at Galileo’s Café inside the center and then watched an IMAX movie called “Greece: Secrets of the Past”. In the theater there you lean back and watch the film on a dome. I don’t think that this was a particularly useful way to learn about Greece’s past.

The statue of El Cid did not look much like Charlton Heston.

We saw a Venus flytrap, among many other species, in the Botanical Museum.

We walked past the Mingei International Museum, which promoted folk art and crafts from around the globe. We did not go inside.

We drove to Old Town again for a late lunch. We had tacos and a burrito at the Alamo Mexican Cafe. It got quite chilly. Sue wrote postcards, and I mailed them. The notes stated, “Alamo closed up.” I interpret this to mean that the patio area was closed because of the weather.

On our way to the car we found a store that was offering 50-65% off the regular price. The notes did not say what they were selling or whether we went in.


We drove back to the Hampton and took a nap so that Sue could stay awake during the opera, and I could prevent cartoon characters from appearing in the last act, as they had during the performance that Denise and I attended.

This time the San Diego Opera was presenting on a performance of Carmen by Georges Bizet. Both Sue and I had seen traditional productions of this opera several times. I owned a CD of the opera that used Bizet’s original version that included dialogue, not recitative. Every performance that I had seen had used recitative, which, in my opinion blunted the impact of Carmen’s personality.

We also had season tickets for the Hartford Stage Company when Mark Lamos, the director, was the artistic director. Both of us were quite sure that his Carmen would not be a traditional one, and we were right. The program for the opera contains 56 pages, but there is not a word about the production. The setting had been moved from Spain to an unnamed Latin American country and from the late nineteenth century to the thirties or forties. This really did not impact the arc of the story line much. Of course, gypsies were rare in Latin America, but it was not that hard to suspend disbelief. The famous Anvil Chorus did not seem anachronistic in this environment.

All performances of Carmen were sold out, but the two seats next to me were empty and at least one woman seated near us left after the first act.

I don’t remember whether I enjoyed the performance or not. The only detail that I remember was that one guy in the audience wore shorts. If it had been the dialogue version I feel certain that I would have mentioned it. The review in my notes was terse: “Liked Micaela. Good chorus. Great acoustics.”

It took a very long time to maneuver the HHR out of the parking garage. That’s often part of the price one pays for attending one of the ABC operas.

Back at the Hampton we enjoyed a late supper of leftovers consisting of moo shu pork and combination #1.

Wednesday March 29: When I traveled to the West Coast on business, I always returned on an overnight (“red-eye”) flight. The times of our return flights were not specified in the notes, but we obviously spent most of the day getting from San Diego to Enfield.

I woke up with quite a bit of energy and decided to go for a run. After a few minutes it started to sprinkle, and I returned to the hotel.

Since getting food is always somewhat dicey on airplanes and in airports we decided to treat ourselves to a full breakfast at the Spice House Café.9 It was less than a mile from the hotel. We had veggie frittatas and “gyros meat”, which I presume was lamb The portions were enormous. The very nice waitress, whose name I did not record, kept the coffee flowing. It rained quite hard during breakfast, but then it cleared up.

We returned to our room at the Hampton Inn, packed our things into the HHR, and checked out. Sue, needless to say, brought leftovers.

I stopped for gas at an Arco station. The pump wouldn’t accept my ATM card10 for some reason. I went to a nearby Chevron station that accepted the card. We then drove to the airport and returned the HHR to Avis. Either they did not notice the ding, or they didn’t care.

The notes said, “Raining in Salt Lake City.” So, we evidently changed planes there. I had been in that airport at least once before, but it is the only place in Utah that I have visited. The other states that I have missed (as of 2023) are Wyoming, Montana, Idaho, North Dakota, and Alaska.

We ate leftovers from breakfast on the flight from Salt Lake City to Bradley. There was plenty of time for Sue to watch a movie. She did not ordinarily like science fiction, but maybe “Aeon Flux” with Charlize Theron was the only thing that was available. I worked on sorting and editing my photos, the B4 deck11, the notes, and playing bridge on Bridge Baron.12

Both our bodies and our luggage arrived at Bradley International intact. It was probably pretty late; we lost three hours in the air. I called Executive Valet, and they sent their bus to bring us to their lot.

As always, my Saturn13 was running and parked near the door of the office. It was a little disconcerting that the “Service engine soon” light was on.

No trip was over until we verified that the cats were OK. As the Saturn entered the driveway we saw a grey tiger-striped cat in the yard. This was not a good sign; he was not one of ours. Woodrow, as expected, greeted us as soon as we went through the door. He showed me that there was no cat food left in the gravity dispenser. I poured some into the metal plate that the cats ate from.

Giacomo made an appearance the next morning. The entertaining and exciting trip to San Diego was officially completed.


1. Sue was married (but estranged) when I met her in 1972. Her father-in-law, Chick Comparetto, lived in Enfield about a mile from our house. He looked after our cats on most of our big trips. His obituary can be found here.

2. At the height of its popularity AirTran operated 700 flights per day, many of them passing through Atlanta. It was acquired in 2011 by Southwest Airlines.

3. The park was renamed San Diego Zoo Safari Park in 2010.

4. In 2010 the monorail was replaced by a set of wheeled vehicles with similar capacity.

5. The restaurant closed in 2019 after twenty years in business.

6. Give the kid a break. His parents could not find the Smithsonian in Washington, DC.

7. Are you surprised to learn that he was pardoned in the waning moments of the Trump administration?

8. You do not need to go to San Diego to be entertained by the zoo’s polar bears. You can watch them on polar-cam.

9. The Spice House Café closed its doors for good in December of 2018. It had been in business for twenty-six years.

10. Perhaps the most puzzling thing in all of the notes is the fact that I used an ATM card to buy gas rather than a credit card. By that time I paid for everything with credit cards in order to amass points. I had separate American Express Cards for Hilton and Delta. I had used them to earn enough points to cover most of the costs of this trip.

11. I can’t be certain, but this probably refers to a deck of flash cards that I created for quizzing myself on Italian vocabulary. The English words were sorted alphabetically, one card per word; the Italian word or words were on the back. The B meant that deck contained English words that started with the letter B. They were sorted alphabetically. The 4 meant that this was the fourth deck. There were at least ten thousand cards in total. I went through the entire set of decks more than ten times.

12. Bridge Baron was a terrific software product that facilitated the learning of bridge, both play and conventions. I had Bridge Baron15 on my laptop. The last version of the software that could be installed on your computer and run without the Internet was Bridge Baron29. In 2023 the app Bridge Baron Gold is still for sale.

13. The Saturn lasted until the end of the year. I traded it in for a beautiful sapphire-blue 2007 Honda Accord coupe.

1984-2014 TSI: Denise Bessette

Programmer becomes partner. Continue reading

TSI’s first, last, and best programmer was Denise Bessette. The beginnings of her career at TSI are documented here. At some point in the second half of the eighties she decided to finish her undergraduate degree in economics and mathematics at Smith College in Northampton, MA, and then get a masters degree in econ at Trinity College in Hartford. She lived in Stafford, which is forty-two miles from Smith and thirty-two miles from Trinity. She commuted to both schools. During this lengthy period Denise continued to work part-time at TSI. She also raised her son Chris. Frankly, I don’t know how she did it. She never seemed burnt out or exhausted.

After she graduated she returned to work full time. At that time I named her vice-president of application development. I also arranged that Denise could share a portion of Sue’s office. At the time I did not think that there was much more that I could do. The layout of our office in Enfield (described here) provided for only two offices. Sue had the corner office. The other one was used by our salesmen. I worked in the computer room.

This arrangement seemed to work fairly well for a while. In 1994, because of TSI’s “second crisis” (described here), Denise was able to establish herself in that office. A few years later Denise decided that she needed to try to work at a company in which she had more control over her situation. This prompted TSI’s “third crisis”, which is described here.

After that situation was very pleasantly resolved, Denise and I worked productively as partners until the company was dissolved in 2014. She was in charge of getting the programming and support done and hiring the technical staff. She also continued to handle the payroll. The administrative and sales people reported to me. I continued to do the sales calls, demos, installations, and training. I also spent countless hours researching alternative approaches to our way of doing business.

After TSI moved its office to East Windsor and installed a network with a connections to the Internet, Denise handled all phases of it and worked with our clients to establish and maintain access to their computer systems. I was more than happy to let her deal with those issues.

She also managed the people who cleaned the office and a few other similar functions.


Memories: Denise caught on to my style of programming faster than any other coder that we hired. I was somewhat upset when she went part-time to be able to finish college. The silver lining was that it was unlikely that she would quit before she got her degree, or as it turned out, degrees.

In the eighties Denise sometimes brought her son Christopher into the office. She stashed him in the supply closet. No, she did not shut the door. He seemed to be content with whatever she gave him to play with there.

I remember that on one occasion Denise invited Sue and me to supper at the house in Stafford where she lived with her husband Ray for supper. It was a very nice house with a deck. The heating was provided by one or two stoves that burned wood chips. I had never seen such a thing.

That was the only time that we visited them. If you are wondering whether we reciprocated the invitation, the answer is no. I am not sure why, but we almost never invited anyone over to any of our residences in Connecticut. We probably were still living in Rockville.

I played golf with Ray and his dad a few times. They liked to play at Grassmere, a short public course in Enfield with only nine holes. I seem to remember that one hole had a huge tree right in front of the green. If you did not hit your drive far enough, your only shot to the green was to try to hit a wedge or nine-iron over the tree.

When we hired Denise she was a smoker. In the late eighties she quit cold turkey at about the same time that Sue, Patti Corcoran, and my dad also quit. I don’t remember her getting irritable or fat during the drying out period.

On one occasion her kitchen sink got backed up because Denise poured instant mashed potatoes down it. I bought her a box of instant mashed potatoes as a memento. Later I kicked a dent in one of our cabinets when I got upset at a client. She bought me an inflatable Fred Flintstone to punch when I got angry. It is still in the basement in 2023, but I haven’t tried to inflate it in a few decades.

Denise knew that I read quite a bit. She was taken aback when I casually remarked that I did not enjoy reading female authors, especially ones in the science fiction or fantasy genres.1 On her recommendations I read several Anne Tyler books. They were all fairly good, but I had to admit that Breathing Lessons was close to a masterpiece.

I was always envious of Denise’s cars—a sporty Mazda when she started working for us and a string of BMW’s thereafter. When in 2007 I bought my sapphire blue Honda Accord coupe, she said, “That sure doesn’t look like my grandmother’s Honda!”

She was almost never ill in the thirty years that I worked with her. Then again, neither was I. I remember that she got an infection from inner-tubing on the Farmington River on one of TSI’s summer outings. We never tried that again.

Denise and I enjoyed a very productive trip together when we attended the IBM PartnerWorld convention in San Diego in 2000. The details are described here.

Denise drank mostly tea and Diet Coke in cans.2 She ordinarily just dipped the teabags in the hot water once or twice. I’ve never seen such a weak beverage. Her favorite was Earl Grey. I purloined for her envelopes of tea from the hotels at which I stayed. She seldom took a lunch break; she just grazed on what she brought with her.

At some point in the nineties Sue Comparetto, Denise, and I attended a performance of Carmen at the Bushnell Theater in Hartford. We all enjoyed the opera well enough, but I was disappointed that, as usual, Sue was late and so we missed the talk that was presented before the show.

Several years later Denise and I spent an hour or two at the Wadsworth Atheneum in Hartford. She wanted to show me some impressionist paintings. They did nothing for me. I am a Philistine when it comes to art.

Denise was afraid of escalators. She avoided them if possible. If not, she was very tentative. She did not like the moving sidewalks at airports, either.

When Christopher was in high school Denise told me that his best friend was a girl in his class. She alleged that they were just friends. Although this sounded preposterous to me, I kept my mouth shut.

Competition.

I remember when Christopher graduated from high school and was in the process of selecting a college. Denise wanted him to go to a good school in New England. He wanted to go to Penn State. I advised her to tell him that he would have a better chance with the girls at a local school. At PSU half of the male students were linebackers on the football team. I doubt that she took my sagacious advice. He became a Nittany Lion.

She especially did not like it when Christopher joined a fraternity in State College, but he somehow survived the experience, and Denise is now a grandma.

Their cottage was much smaller and a few blocks from the Sound.

Denise loved bodies of water—oceans, lakes, ponds, rivers, anything. She was always happier when she was close enough to experience a body of water through any sense. For years she and her husband Ray had a cottage in Old Saybrook near the Long Island Sound. Several times they took vacations in Aruba.

In 2013 Denise and Ray sold both their house in Stafford and the cottage and moved to Cape Cod. I saw her only a few times in the last year that we worked together and never since.


Business Relationship: For the most part Denise and I had a very productive relationship. Largely it was a case of staying out of each other’s way and (after I made her a partner in 1997) coming together in November and December to evaluate progress and distribute bonuses.

A blog entry about the agendas for the periodic meetings that the two of us enjoyed from 2001 through 2006 has been posted here.

Denise provided some needed organization and discipline to TSI’s approach to programming. My “cowboy coder” philosophy dictated that when I was at a client’s site, and someone complained about a problem, I would immediately investigate it. I often was able to fix it on the spot within a few minutes. This often made me a hero at the client’s office, but a pain back at TSI. It was not easy to isolate all of the things that I had changed, bring them back to the office in an orderly manner, and integrate them into the master copy of the system without disrupting processes used by other clients. Keep in mind that I installed thirty-six AdDept systems, and they were all running the same code.

I eventually had to refrain from addressing any problems at a client’s site. I documented them but did not change the code. … All right, I’ll fess up. Sometimes I could not keep myself from making changes that I was 100 percent certain would not interfere with what was being done at the office. Denise was not a bit happy when I did this. Perhaps we were fortunate that eventually our clients lost the willingness to pay for me to travel to visit them.

The only other point of contention between Denise and me involved research. Both of us knew that the platform on which we had built AdDept–BASIC programs on the AS/400–was considered obsolete by many people in the world of data processing. In most cases these people had veto power over a purchase of our system. It was generally a waste of time to try to persuade them that their evaluation was erroneous. They were hired as experts. We were just potential vendors.

Denise and I agreed that the ideal solution would be to move the whole system to the Internet to avoid the standards that were being established by IT departments. This approach is now called Cloud Computing. However, we were never satisfied that we could do it without man-years of work and considerable expense.

If there was no pathway to the cloud-based approach, the issue was whether the problem was BASIC or the AS/400. I thought that we should investigate the programming languages that coders were using on platforms outside of IBM. At that time the most popular languages were C and C++. C was somewhat similar in structure to BASIC. C++ was its object-oriented version. I spent some time researching the IBM version of C and concluded that a transition to C was possible but unquestionably difficult.

For reasons that I never understood Denise was quite upset at me for spending any time investigating this possibility. I had absolutely no intention of asking her to convert the programs. I was just trying to see whether it was a possibility.

The other side of this coin was Denise’s advocacy of converting all of our BASIC programs to a version of RPG, a language that was popular on the AS/400 but nowhere else, dubbed ILE.3 I never understood the reason for this, but it kept the programmers busy after the requests for programming began to dry up. So, for the most part I kept my opinions to myself.

After Denise moved to the Cape she only came into the office a few times a month. She was in rather constant communication by telephone with Jason Dean, who, at that point, was our only programmer. I liked it a lot better when Denise was in the office all of the time, but my philosophy had always been to take advantage of whatever time she could give me.


1. I need to explain this. I have no doubt that women can write as well as men by virtually any measure. In 2023 (as this is being written) they definitely dominate the publishing industry. However, I contend that women have a basic fantasy about being rescued, and men have one about being heroic. I contend that this is not cultural but innate. Nature, not nurture.

I find that reading about the latter fantasies more interesting than the former. Is that a crime? I have never like a science fiction or fantasy book by a female author. Several times I got suspicious in the middle of one in which the author used initials or a pseudonym and looked up the author used initials or a pseudonym. After looking the author up and discovering the secret I stopped reading. Before you ask, I have never read a single word of the Harry Potter books.

2. I always thought that cola from plastic bottles tasted a little better. For some reason the two liter bottles are always cheaper and usually on sale somewhere. I like both Diet Pepsi and Diet Coke equally. I always have bought whichever one was cheaper. After the business closed I switched to the caffeine-free versions.

3A 220-page document from IBM that aims to show why ILE is a superior approach can be viewed here.